Spurred on by the creativity brought on by 'Less Is More' Marillion began to create one of their most ambitious albums to date. It did take some time to complete what would become 'Sounds That Can't Be Made' but once a break or two from each other plus the birth of 'Less Is More' had taken place the band got on a roll without any pressure. Instead they conjured up not only one of their longest albums ever but also their most politically charged long player since 'Seasons End'.
Even though 'Sounds That Can't Be Made' was released in September 2012 the opening song 'Gaza' is just as poignant and relevant today as it was then. Clocking in at a massive 17:31 it tells the story of a boy growing up in "the temporary refugee camps", as they are called, in the wartorn Gaza strip. Steve Hogarth explained he wrote it for all the children there - past, present and future - wanting to bring forth the horrendous situation they were, and still are, in. Not being allowed entry to the area Hogarth still managed to contact people from all walks of life there to get as much input as possible. Musically 'Gaza' flows perfectly between tempos to accentuate emotions and occurrences told which enhances the heartfelt and heartbreaking lyrics even further. 'Sounds That Can't Be Made' allows Mark Kelly to step up creating all kinds of beautiful sounds while the band keeps it simple yet wonderful. John Helmer returns co-writing the lyrics to the heartbreaking song 'Pour My Love' with Steve Hogarth. To me it's about trying to recapturing love in a failing relationship where the protagonist has already given everything and more. This is brought forth so elegantly by the band making every note played and not played count. 'Power' finds Trewavas bass guitar acting like a heartbeat throughout. The verses are slow while the choruses picks up somewhat. Power can be many things and be careful how you use it.
'Montreal' is one of three songs on the album over 10 minutes long and is Marillion's ode to the Canadian metropolis and the band's dedicated fans there. Soft and mellow it gradually builds up only to flow back and forth. 'Invisible Ink' sees the protagonist wanting to declare feelings but is afraid to take that step in fear of not being loved back. Like rapidly changing emotions the music weaves back and forth. Keeping with the shape of the music on the album 'Lucky Man' moves back and forth as Hogarth sings about how we all want different things but the song's main character is perfectly happy and content...hence lucky man. 'The Sky Above The Rain' closes out the album and is the third composition over 10 minutes long. It's about a relationship that has run it's course. One partner still loves the other one but only platonically, nothing more, while the other still have strong feelings. Sadly this situation turns into resentment. Rothery's solos are amazing!
Again Marillion solidifies their status a band on their own. What I mean is they do exactly what they want without any outside interference and time and again, they hit home with wonderful songs and brilliant musicianship which is the case with 'Sounds That Can't Be Made'. Something from the past has returned somewhat with the album feeling proggy in a way their music hasn't for quite some time. And I think that's great. Nothing's being rehashed, quite the opposite, instead the mix of new and old, in lack of better words, pushes Marillion on.
-Swedebeast
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